The snappy sci-fi hoot Men in Black...is a kind of "Independence Day" for smart people.

Ultimately, this film is more interesting than rousing; missing is a John Ford-ian wealth of idiosyncratic characters. [9 Nov 1990, Life, 4D]

Good Hair is cause for hope that Rock continues to make documentaries. His style is lively, smooth and up-to-date, like the most coveted 'do.

To its credit, the ravenously awaited film version of Presumed Innocent should engross and reward two distinct audiences: Those who've read Scott Turow's 1987 best seller, and those who haven't. But remember: Engross and reward isn't quite synonymous with a cinematic trip to the moon. [27 July 1990]

With Halloween bags still brimming, it's an ideal time for the inventive candy-colored fun and wicked humor that is Wreck-It Ralph.

This wryly funny take on the classic ghost story, with its tributes to horror thrillers from "Halloween" to "Friday the 13th" and rich cast of characters, has distinctive Tim Burton-esque visuals, and a welcome dearth of potty humor.

Shot in semidocumentary fashion, it builds to a more visceral climax than one initially expects. [26Nov1997 Pg.09.D]

Hellboy's cheeky attitude and snarky dialogue, specifically Perlman's snidely funny lines, are the highlights.

Yet, when it all clicks, Ephron is able to make the familiar sparkle anew. [25 Jun 1993 Pg. 01.D]

Some bits fall flat, yet when the Coens hit, there’s nothing better, especially with their usual ridiculously sublime banter.

The musical's ultimately feel-good narrative hinges on Barrino’s deft navigation of a gut-wrenching character arc – and she can still belt like a champ.

It's equally endearing as a sweetly funny romance between two likable oddballs and as a low-tech time-travel thriller, and has something profound to say about making the most of the present.

True-blue Ford keeps 'Clear' out of danger. [3 August 1994, p.D1]

The result is a foot-stomping rouser. Where else can you get a cop in his underwear boogalooing with skyscraper terrorists? [15 July 1988, Life, p.4D]

Spectacular special effects, superbly crafted action sequences, plenty of humor and terrific performances render it a cut above most summer blockbusters.

Newcomer Shameik Moore shines with geeky gusto in a breakthrough role in the coming-of-age comedy/drama, which tackles racial stereotypes and 1990s culture as a kind of spiritual descendant of "Friday" and "Do the Right Thing" while still featuring a singular voice.

A decidedly sentimental American version, with much comedy (by mistake, Bob Cratchit actually knocks Scrooge's hat off with a snowball) and fortified with a Scrooge who is not so much a born-to-be-cruel wretch but a tortured soul who lost the meaning of Christmas along the way. [15 Dec 1992, p.6D]

While tonally jumbled and at times violently jarring, the movie delivers strange vibes and extremely strong performances from Jesse Plemons at his oddball finest and Emma Stone, who may or may not be from our planet.

Robert Altman's first movie after M*A*S*H introduced Shelley Duvall and was among the director's personal favorites. All kinds of icons are satirically skewered, from Margaret Hamilton's Wicked Witch in The Wizard of Oz to Steve McQueen's sweater-clad Bullitt character. [04 Jan 2008, p.11D]

This is still a great Carney performance and inspired casting by writer/director Paul Mazursky. [16 Sep 2005]

Best scenes: Campbell pondering whether to squash her dismembered head in a vice, and a later quandary when he must shotgun his own dismembered hand. Moral: Pimples aren't the worst thing that can happen to your body. [11 Sept 1987, Life, p.3D]

Every performance in the film is flawless.

The nonstop amusing mockumentary Waiting for Guffman does to small-town acting troupes what "This Is Spinal Tap did to heavy-metal bands."

This sci-fi thriller has an engrossing plot and a strong cast of fully drawn characters. There's even a sweet youthful love story. In other words, it's a summer blockbuster firing on all cylinders.

War Horse will likely take its place alongside beloved family films. But that doesn't mean sitting through it is pure pleasure. It's a long slog at almost 2½ hours, and occasionally it resorts to obvious sentimentality. At times it's hard to escape the sense that we're watching "Saving Private Ryan"-meets-"The Black Stallion."

A documentary that dissects the essence of comedy as well as showcases outrageous improvisational humor.

Easy A not only makes the grade, but it comes in close to 100%.

It's a tough entry into the tough black-comic genre; don't be surprised if it becomes a classic. [31 March 1989]

Hide your mirrors and look out for bees: Candyman has returned, more relevant and terrifying than ever.

Based on the popular role-playing game and far better than that forgettable 2000 “D&D” big-screen outing, “Thieves” is a clever and often hilarious action adventure that overcomes pacing issues with well-crafted characters and a host of wondrous creatures both stunning and icky.

If Martin Scorsese's staggeringly ambitious one-of-a-kind finally has too many flaws to be great, it has as much greatness in it as any movie this year.

Even when there are lulls, the emotions seem authentic.

A chilly oddball that's easier to admire than love.

Few filmmakers of the past 20 years have mesmerized as much in their use of crisp, color-drenched photography.

It's also as good as "Out of Africa."

This is one inspiring movie despite extremely tricky subject matter -- better than "Shine" and among the most affecting ever made about co-existing with mental demons.

So many movies try to capture human relationships and fail miserably. A few come close. Your Sister's Sister nails it with grace, humor and winning charm.

It’s not really a horror movie, although it is plenty horrifying. It’s a love story that’s devoid of sentimentality and romance. And it’s also quite funny at times, though you’re never quite sure the laughs are because of the gallows humor or simply a defense mechanism to keep one’s sanity.

The drama sputters through a 70-minute second half. [14 July 2006, p.4E]

Fassbender's portrayal is truly haunting, and when he sobs, dramatically unraveling, it's clear he's imprisoned by his physical urges.

You could be cynical about the first movie produced by the coffee colossus Starbucks. But there's nothing cynical about Akeelah's story of courage and determination.

Derrickson (Sinister) crafts a trippy phantasmagoria for Strange to fly screaming through as he begins his path to sorcerer supreme. The only thing missing is a Doors jam as the sequence unfolds a dizzying blend of psychedelia, geometric oddities and nightmarish dreamscapes.

So it seems lightning has struck again, this time in the DC universe where the most successful movies thus far have played it safe. That’s never been Gunn’s game, thankfully, and certainly isn’t here. Anyway, who needs Batman around when you’ve got Starro the Conqueror?

A good-natured and engaging fantasy/romantic comedy in the tradition of "Heaven Can Wait" or even "Topper."

In a role as tailor-made for him as the story is for its writer and director, Nicolas Cage anchors the movie with one of his best performances.

This is economy of style that Americans get only in Woody Allen movies -- and even that's not a guarantee.

A Johnny Cash biopic equally packed with music and frustrated love, Walk the Line goes from compelling to enthralling.

Proof that Allen, who many have dismissed with his last few forgettable films, is still a filmmaking force.

While other Alzheimer's-related films, including "Amour," "Iris" and "Away from Her", delved more deeply into the subject, Alice is understated yet still moving.

Part of the appeal is the underlying theme of the torch being passed between generations. Think how disappointing it would have been had Dana become an insurance actuary instead of a surfing filmmaker.

This fun-filled adventure avoids formula with a whimsical story and terrific voice casting.

The movie, a Technicolor remake of Gable's own 1932 smash Red Dust...is among Gable's best, and it also has underrated Gardner's best performance. [23 Jun 2006, p.8E]

If you savor movies about sleazy plea bargains and other lawyer hardballing, Death has its moments. Otherwise the latest from director Barbet Shroder is only a movie of moments - much like his last: Single White Female. [21 Apr 1995, p.7D]

The Invisible Man is both a jumpstart and a template for their renaissance: The movie delves into the sheer terror of abuse and explores how Cecilia doesn’t even really understand the psychological scars until she begins to discover some semblance of freedom.

Pattinson’s main man holds down a revamped Gotham that feels distinctively gritty with its blueprint of madness and mayhem, a place you would never want to live in but still would love to revisit as soon as possible.

This time, he (Ang Lee) has Kevin Kline, Joan Allen and Sigourney Weaver trudging through ice both emotional and literal -- an omnipresent metaphor but not one unduly sledgehammered. [26 September 1997, pg. 1 D}

Deftly balancing the students' stories with that of Courtney's, the film creates a fully rounded portrait of a corner of America rarely examined.

The special effects continue to be masterful, but villains are given a new twist, and Order of the Phoenix is all the more fun because of it.

And that's Fed Up's ultimate, if not fatal, weakness: The movie seems to acquit consumers of any culpability in our health crisis.

Smashed is quietly affecting, though sometimes difficult to sit through. The saving grace is Winstead's smashing performance.

But this telling of the story filmed on location in the now democratic South Africa is especially heart-rending thanks to superb performances by James Earl Jones and Richard Harris. [1 Jan 2000]

Like "The Departed" and "Gone Baby Gone," What Doesn't Kill You is an engrossing, gritty, sharply written and well-acted drama set on the mean streets of South Boston.

It's fairly solid fun, though, without breaking any new ground, just as January's remake of "Assault on Precinct 13" was.

It's likely to be overrated by some and underrated by others, and both contingents will be wrong. One can't, however, overrate the performances, with auntie ruling the roost in more ways than one. [29 Mar 1996, p.4D]

"Imitation" illuminates Turing's brilliance in an engrossing and moving film that features a standout, Oscar-worthy performance by Benedict Cumberbatch.

Beguiling Victoriana. [18 July 1997, p.4D]

For all its inconsistencies, this is Smith's most provocative outing yet and certainly the toughest to forget.

Even in the classiest movie summer of the decade, Mob is destined to demand respect for Pfeiffer. [19 Aug 1988]

Well-told fanciful tales aimed at children but appreciated by adults are a rarity, and The Water Horse should be savored for the exuberantly entertaining ride it offers.

So original that it'll be years before a major filmmaker attempts another one. We're talking black-belt cult-movie status here. [30 Mar 1988]

If Wonderland is difficult to embrace, it is easy to admire.

Girls isn't fabulous, but you do feel its characters really have connected.

By emphasizing surreal humor and fast-paced action instead, Rodriguez has crafted a prepubescent version of James Bond without aping that series' style.

An irreverent and witty comedy in which the events aren't predictable but are well paced.

As the debuting title superhero and a new champ for representation, Liu exudes likability, swagger and depth – plus forms a great buddy-action combo with co-star Awkwafina – and “Shang-Chi” really cooks when he’s in a street-fighting groove. However, director/co-writer Destin Daniel Cretton’s ambitious adventure loses some of that storytelling momentum when diving into its involved mythology.

The movie’s both a reminder to always believe in ourselves, and believe in that old Pixar magic.

The film is an impressive effort, yet often a trying one.

This cult movie for the ages suggests a Twilight Zone episode taken to gruesome extremes. [09 May 1997, p.3D]

It's great to see an action-adventure family film with heart as well as humor, whimsy alongside wisdom, and a compelling narrative.

Fortune is smiling down on veteran filmmaker Robert Altman with Cookie's Fortune.

If it's a spirit-lifter you want, Rudy is the perfect pep rally for your soul. [13 Oct 1993, p.8D]

Truth be told, Joel and Ethan's game is a little off, inconsistent and at times just plain incoherent. But they roll enough solid laughs and eye-tickling camera tricks to satisfy. [6 March 1998]

The razor-sharp satire Thank You for Smoking is the wittiest dark comedy of the year thus far. It has appeal to all sides of the political spectrum.

All one needs to grasp is the hope and inherent magic of a kid and a dragon being BFFs, then let the feels flow from there.

A sharp-tongued, subtly nuanced tragicomedy starring Jennifer Aniston, who shows her depth as a serious actress in this dark tale.

Not brilliantly funny nor incisively clever, Intolerable Cruelty is still moderately satirical and laugh-out-loud enjoyable.

Downey is absurdly funny.

Light as a feather. [8 March 1996, p.D1]

Damon convincingly matches Williams recrimination for recrimination in this portrayal of mutual tough love, even with the latter giving what may be the best performance of his career.

Director Jon Watts’ third Spidey film is a rousing entry that doubles as a love letter to the comic-book character, a film very much about second chances and a cleverly crafted reminder of that famous adage: “With great power comes great responsibility.”

While the new “Ralph” falls short of the original’s brilliance, any adventure with the big oaf and his glitchy BFF is #winning.

The finale, which utilizes vintage home movies to show us the real people we've just seen portrayed, packs a wallop. [19 February 1999, Life, p.13E]

Despite Thurman's unlikely role, she's rather appealing with De Niro, but the De Niro-Murray chemistry isn't convincing. Murray, a breeze in Groundhog Day, seems tensed up here; the film, long on the shelf and with long-shot cult potential, brings no discredit upon its makers, but no glory either. [5 Mar 1993, p.5D]

Unfortunately, Red Eye goes from being a powerful thriller to a far more predictable story of revenge.

Though not exactly innovative, Tangled has a snappy pace and the Broadway-style appeal of classic Disney fare.

Cruise and Blunt have a measure of chemistry, however their characters go undeveloped, given short shrift amid the spectacle. But the pulse-pounding action scenes are briskly directed by Doug Liman.

The fantasy-tinged narrative of Wonderstruck, which Brian Selznick adapted from his novel, is where the movie sorely lacks emotional connection.

Brutally intense and elegantly crafted, the film showcases the stellar acting chops of Andrew Garfield and Vince Vaughn, and it’s director Mel Gibson’s best work behind the scenes since 1995’s Oscar best-picture winner Braveheart.